By Michael Barbieri****Picture this: you’re sitting at a little table surrounded by friendly music lovers. In front of you there’s a smart cocktail or a nice glass of wine. A lone accordionist in a newsboy cap appears and begins playing. He’s joined by a lovely young woman who sings a well known French tune. Are you in Paris at the cabaret Au Lapin Agile? No, you’re at the Laurie Beechman Theater, seeing Glamour in the Dark, a delightful, sophisticated evening of song, featuring the entrancing Yael Rasooly and Iliya Magalnyk!
Yael Rasooly is a singer, actress, director and puppeteer who was born in Jerusalem and studied voice and 
theater design in London. Her theatrical shows include Paper Cut, which won the Excellence Award at the New York International Fringe Festival. Accordionist Iliya Magalnyk is a composer and arranger who immigrated to Israel from Moldova. One of the major musicians on the scene, he is the founder of the Magalnyk Klezmer Band and has been celebrated for his original compositions, his range of styles and the virtuosity of his playing. Together, they transported us to Paris and beyond, using music, language and a simple, elegant visual style.
The opening I described above set the evening’s tone perfectly. Magalnyk’s solo, “Domino” (L. Ferrari) was absolutely beautiful and featured fleet-fingered runs on the instrument’s keyboard and some of the most delicate high notes I’ve ever heard from an accordion. Rasooly then made her entrance, looking very chic in a simple black wrap dress and faux fur jacket; the number transitioned smoothly into “La Vie en rose” (Louiguy, M. Monnot, E. Piaf), the classic song made famous by Edith Piaf. Rasooly’s rendition of this French standard began with a slow, dreamy feel, as do most versions. But she then gave the number a twist by upping the tempo, singing the French lyrics with an exaggerated American accent, and adding some gorgeous coloratura trills. Cabaret audiences have heard “La Vie en rose” countless times, but this version breathed new life into the old chestnut and made it whimsical and fun! I was impressed from the start!
Rasooly’s ease with a melodramatic lyric was evident with “Careless Love” (W.C. Handy, M. Koenig, S. Williams), a sort of love-gone-wrong, 12 bar blues-type number, and “I Love You Much Too Much” (A. Olschanetsky, C. Tauber), a song of uncontrollable love, sung by Rasooly in English and Yiddish. Her subtly sexy interpretation of Piaf’s “Padam padam” (H. Contet, N. Glanzberg) was an ode to romantic memory, set to waltz tempo. I should note, 
however, that though these numbers were a touch histrionic, they weren’t at all downbeat. At one point, during “Much Too Much,” Rasooly slipped up on a couple of the lyrics, which she charmingly shrugged off with the quip, “Jet lag!”
Now, just when I thought I had a handle on the exact feel of the show, Rasooly and Magalnyk did an about-face and surprised me with a jumping little ditty called “Blues My Naughty Sweetie Gives to Me” (A. Swanstrom, C. McCarron, Carey Morgan). Recorded originally in 1919, this wonderful little blues number had an almost Dixieland jazz feel, with rapid fire lyrics that reminded me of a patter or rap song! I’d truly never heard anything like it, and their performance of the piece was definitely one of the high points in the show.
Magalnyk’s second solo of the night, “Histoire d’un amour” (F. Blanche) showed off a lush arrangement, with gorgeous, subtle shifts in dynamics. It was followed, appropriately, by Rasooly’s emotional take on another Piaf hit, “L’Accordéoniste” (M. Emer). This story song about love, loss and taking refuge in music, demonstrated the singer’s fine acting skills, as we saw her character go from helpless sadness to courageous strength.
Another real discovery for me, was “Alfonsina y el Mar” (Music: Ariel Ramirez, Hebrew lyrics: Ehud Manor). This Argentine song performed in Hebrew was a sad tale of the anguish of lost love. And while I didn’t understand the Hebrew, Rasooly’s tender vocal, tinged with subtle melancholy, was still very moving to me, and proved that beauty and truth transcend language!
There was much to love about Glamour in the Dark—Rasooly’s expressive vocals, the choice of material and the wonderful arrangements by Magalnyk. But I think what impressed me most was the exquisite simplicity of the act. There were no frills to detract from the songs or from the musicianship of both performers. Rasooly’s delivery was always effortless and straightforward, while Magalnyk was a one-man orchestra!
The evening wound down with a few more numbers, including a lighthearted take on Piaf’s “Non je ne regrette rien” (C. Dumont, M. Vaucaire) which featured a happier, tango-like tempo and a touch of Bizet’s “Habanera” thrown into the clever arrangement for good measure. We also got a cute, chirpy tribute to infidelity called “Busy Line” (M. Semos, F. Stanton), which had a rather vaudevillian feel, made all the more fun by Rasooly’s amusing mouth-trumpet break halfway through.
Prior to reviewing this show, I didn’t know much about Yael Rasooly or Iliya Magalnyk. After seeing this absolutely charming, beautiful show, I’m certainly glad I know of them now! Beginning very soon, Rasooly will be in the U.S. for an extended stay, and she’ll be touring her various shows, including Paper Cut and Glamour in the Dark. Be sure to catch this unique and delightful performer while she’s here.
Yael Rasooly’s Glamour in the Dark returns to The Laurie Beechman Theater on February 2nd at 1pm. For information, go to www.westbankcafe.com or www.yaelrasooly.com
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